If you prefer your lenses to be spot-on, sharp, consistent, or provide repeatable output, you might want to look elsewhere. If you are unafraid of complete manual control, not obsessed with resolution charts, and want to take the adventurous path, manipulating aspherical aberrations, aperture shape, and more – The Lomography Nour Triplet 64 f2.0 might be the lens for you. Though the link between Ibn al-Haytam’s monumental work to the lens is rather loose, it’s nice to see a manufacturer honoring the people who started it all. Some more info about Ibn al-Haytham may be found here. His most influential work is titled Kitāb al-Manāẓir ( Arabic: كتاب المناظر, “Book of Optics”), written during 1011–1021, which survived in a Latin edition. The works of Alhazen were frequently cited during the scientific revolution by Isaac Newton, Johannes Kepler, Christiaan Huygens, and Galileo Galilei. Referred to as “the father of modern optics”, he made significant contributions to the principles of optics and visual perception in particular. With its Nour triplet Lomograpy paying homage to Hasan Ibn al-Haytham, a pioneering scientist, mathematician, and optical engineer, Ibn al-Haytham was born in Basra (in modern-day Iraq) circa 965. The viewing method somewhat offsets the high optical demands of high-quality sensors and emphasizes the “total look”, in which vintage lenses excel. Most will be viewed on desktop monitors, laptops, tablets, and mobile phones. Most videos taken these days will never see the silver screen. This, in turn, changes the way young filmmakers perceive the “cinematic look” as more projects are filmed using affordable optics Small screens, loose standards As cameras drop in price and a broader crowd enters the halls of filmmaking, affordable optics are required. In stark contrast – a full vintage FF prime set can be purchased for hundreds or a couple of thousands of dollars/euros. A cinematic set will cost as much as a nice car or even a nice house. High-end cinematic lenses are pricy, to say the leastĮven a single high-end cinema lens from ARRI, ZEISS, Schneider, Cooke, or Canon will set you back a significant sum. The clinical look that modern lenses provide may not align with some of our expectations, and we’ll soon discover that softening an image isn’t fixed that easily in post. It may be no more than our nostalgic yearns but cinema is a nostalgic medium. As sensors have gotten better, they’ve exposed optical flaws which have created an incentive for lens manufacturers to improve them and create lenses that will out-resolve the sensor. High-resolution digital sensors provide an amazing level of fine detail, way finer than film. Sample Shots by the Nour triplet 64 f2.0 bokeh control lens Modern lenses are just too perfect This trend may be discarded as a hipster whim, a gimmick, or just plain kitsch but there are actually some relevant arguments supporting it: We’ve seen several manifestations of this trend, including the rehousing of old lenses, newly manufactured classic designs, or just adapting classic lenses to modern cameras. This path gained popularity in recent years as more and more cinematographers and photographers try to replicate some nostalgic essence in their imagery. The Nour takes an alternate path, taking what is considered optical defects and turning them into a desirable effect. The weight is 620g (1.3 lbs) for the brass version and 395g (0.87 lbs) for the aluminum lens. 15 blades of aperture will take you from f2.0 to f16. The front filter thread is 55mm, and the minimum focus distance is 60cm (so no macro capability). Installation requires detachment of the lens and unscrewing a rear element, but is a simple and completely user-friendly mechanism. They will turn your everyday “bokeh-balls” into stars, hearts, and other funky shapes. keyboard_arrow_rightCameras of the YearĪdditional control over bokeh rendering is achieved by rear-mounted drop-in filters.
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